Jean Fouquet

Little is known of Fouquet's early life and education. Though long assumed to have been an apprentice of the so-called Bedford Master of Paris it is now suggested that he may have studied under the Jouvenal Master in Nantes, whose works were formerly assumed to be early works by Fouquet. Sometime between 1445 and 1447 he travelled to Italy, where he came under the influence of Roman Quattrocento artists such as Fra Angelico and Filarete. During the 1450s he began working at the French court, where he counted kings Charles VII and his successor Louis XI among his many patrons.

Fouquet was born in Tours. Little is known of his life, but it is certain that he was in Italy before 1447, when he executed a portrait of Pope Eugene IV, who died that year. The portrait survives only in copies from much later. Upon his return to France, while retaining his purely French sentiment, he grafted the elements of the Tuscan style, which he had acquired during his period in Italy, upon the style of the Van Eycks, forming the basis of early 15th-century French art and becoming the founder of an important new school. He worked for the French court, including Charles VII, the treasurer Étienne Chevalier, and the chancellor Guillaume Jouvenel des Ursins. Near the end of his career, he became court painter to Louis XI. His work can be associated with the French court's attempt to solidify French national identity in the wake of its long struggle with England in the Hundred Years' War. One example is when Fouquet depicts Charles VII as one of the three magi. This is one of the very few portraits of the king. According to some sources, the other two magi are the Dauphin Louis, future Louis XI, and his brother. • Illustration — The burial of Étienne Chevalier • Illustration — Charles VII as one of the three magi • Illustration — Entry of Charles V in Paris on 2 August 1358, Grandes Chroniques de France (1455–1460) • Illustration — Marriage of Charles IV and Marie of Luxembourg

Fouquet's excellence as an illuminator, his precision in the rendering of the finest detail, and his power of clear characterization in work on this minute scale secured his eminent position in French art. His importance as a painter was demonstrated when his portraits and altarpieces were for the first time brought together from various parts of Europe for the exhibition of the "French Primitives" held at the Bibliothèque Nationale in Paris. His self-portrait miniature would be the earliest sole self-portrait surviving in Western art, if the 1433 portrait by Jan van Eyck—usually called Portrait of a Man or Portrait of a Man in a Turban—is not in fact a self-portrait, as some art historians believe. Far more numerous are his illuminated books and miniatures. The Musée Condé in Chantilly contains forty of the forty-seven remaining miniatures from the Hours of Étienne Chevalier, painted in 1461 for Chevalier. Fouquet also illuminated a copy of the Grandes Chroniques de France, for an unknown patron, thought to be either Charles VII or someone else at the royal court. Also from Fouquet's hand are a few miniatures from five other books and eleven of the fourteen miniatures illustrating the Antiquities of the Jews by Flavius Josephus at the Bibliothèque Nationale. The second volume of this manuscript, with only one of the original thirteen miniatures, was discovered and bought in 1903 by Henry Yates Thompson at a London sale, and restored by him to France. Only three drawings are attributed to Fouquet: • Illustration — Portrait of Guillaume Jouvenel, Kupferstichkabinett Berlin • Illustration — Portrait of a papal legate, Metropolitan Museum of Art, New York City • Illustration — Portrait of a man with a hat, Hermitage Museum, Saint Petersburg One of Fouquet's most important paintings is the Melun Diptych (c. 1452-1458), formerly in the Collegiate Church of Notre-Dame, Melun. The left wing of the diptych depicts Étienne Chevalier with his patron saint St. Stephen and is now in the Gemäldegalerie, Berlin. The right wing shows a pale Virgin and Child surrounded by red and blue angels and is now at the Royal Museum of Fine Arts, Antwerp. Since at least the seventeenth century, the Virgin has been recognized as a portrait of Agnès Sorel. Besides his self-portrait miniature, the Louvre has his oil portraits of Charles VII and Guillaume Jouvenel des Ursins and six illuminated manuscript miniatures from the Hours of Étienne Chevalier, the Histoire ancienne jusqu'à César and the Faits des Romains.

• Illustration — Portrait of the Court Jester Pietro Gonnella, c. 1440-1445, Kunsthistorisches Museum, Vienna • Illustration — Copy of the lost Portrait of Pope Eugene IV • Illustration — Portrait of Charles VII, c. 1450-1455, Louvre, Paris. • Illustration — Portrait of Guillaume Jouvenel des Ursins, c. 1460-1465, Louvre, Paris. • Illustration — Pieta of Nouans, Church of Nouans-les-Fontaines, c. 1460-1465 • Illustration — Annunciation • Illustration — King David and the Amalekite, as described in Antiquities of the Jews by Flavius Josephus • Illustration — Construction of the Temple of Jerusalem • Illustration — Pompey in the Temple of Jerusalem, as described in Antiquities of the Jews by Flavius Josephus • Illustration — Book of Hours